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They're no longer based in the capital these days - guitarist Rachel Aggs (Trash Kit, Sacred Paws) has relocated to Glasgow, joining drummer Andrew Milk (Current Affairs), while bassist Billy Easter (Wet Dog) is now a semi-permanent resident of Los Angeles - but Shopping will always be a London band. It's little surprise, then, that the threesome returned to the city to write their formidable fourth album, All Or Nothing (out Feb 7th, via Fat Cat).

The DIY 'supergroup' formed in 2012, respected players on a young, queer, East London scene that counted basement venue Power Lunches (RIP) as its hub. Their sound - kinetic, minimalist dance-punk inspired by the likes of ESG, Gang of Four, Slits and Au Pairs - has won them glowing press from all quarters (NME, Pitchfork, NPR), impressive co-signs (Sleater-Kinney's Corin Tucker is a fan) and a loyal, cross-continent following accrued over three, acclaimed albums: self-released debut Consumer Complaints [2013], a short-run, DIY-distributed release that sold out in a matter of months and was subsequently reissued by FatCat; Why Choose [2015, FatCat], which saw the band touring the States for the first time; and The Official Body [2018, FatCat] - produced by indie pop legend Edwyn Collins - which bagged the threesome a main stage slot at San Francisco Pride 2018 and a coveted publishing deal with Sub Pop.

For "All Or Nothing", they teamed up with US-based producer Davey Warsop to record, shifting their stripped-down ethos to one that took a leap into pop production. Talking Heads, YYYs, Bronski Beat and LCD Soundsystem are among the artists to feature on the production inspiration playlist the band created for Nick Sylvester, who mixed the record, in Los Angeles.

Along with cleaner, new production values, "All Or Nothing" sees Shopping experiment further with the sonic additions that coloured "The Official Body." Jubilantly '80s synths and electronic percussion add new textures to their signature minimalist dynamic.

Four albums in, Shopping are as committed and focused as ever, regardless of any distance. "We found ourselves singing about being true to yourself, in an often binary and belligerent digital age, and reclaiming agency when it feels like our personal freedom and privacy is constantly eroding." In an era dominated by spin and surveillance, "All Or Nothing" invites us to remember what really moves us, in dance and in life.